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Or if you prefer, just record the audio. Spend some time going through your original presets and also other presets to create a library of go-to sounds. The best part is that there are so many types: soft-clipping, hard-clipping, tube, tape, fuzz, diode, overdrive, bitcrushing, downsampling, waveshaping, wavefolding, and many more.

EQ is normally seen as a mixing tool primarily , but you can heavily alter the tonal content of sounds with this tool. A fast way to overcome this fear is to just start tweaking and see what happens. One way to do this is to use slightly different versions of a sound throughout a track. Maybe swap the filter type out, or add in a second oscillator with the original one up an octave, etc.

To speed things up, give yourself a time-based challenge. Pick one and roll with it, until you can start to feel the limitations — they tend to never come, anyway. This might sound obvious to some, but well-controlled sidechain to a kick or a snare, especially on bass and lead sounds, can really tie a track together nicely.

OTT after distortion might help to tame the sound more, but distortion after could help it poke through the mix. This is a very useful tip I borrowed from an earlier article I wrote on the Sound Design process.

Recreating sounds, whether mimicking presets or doing it by ear, can help you sky-rocket your sound design skills. Stop layering the same sound with one variation. In fact, you could have two completely different sounds that share the same ADSR envelope and reverb processing, and they complement each other.

Phase cancellation. Mix problems. Leads, pads, FX, keys, bells, brass and much more are other groups of sounds that you can make unique sounds in. Try it sometime. It can bring a whole new light to an otherwise vapid sound. Time-stretching is great for getting glitchy and worn-down-type sounds from samples or resamples. You have a variety of options you can choose from, and you can do it in audio or by loading a sound into a Simpler. Sound design can be a very analytical and technical process, whereas songwriting tends to be more creative and random.

You want to have good sounds you can just drop in rather than spend time making them or finding them. So make sure to separate out the process. This works particularly well on plucks and short sounds, but using any standard reverb you can get a wide, sucking-type effect from reverb.

Stacking filters can help add movement to sounds, especially pads and the like. New producers think that using samples is cheating, but getting past this helps open new creative possibilities. You can edit and process samples into completely new sounds, or even just use it as is in a new context. Recommended: How To Sample Music. Add too many delays, distortion, time-stretching devices and pitch-shifting devices, until you can get something completely new.

Granulizers or granular synthesizers are another great tool for getting glitchy, atmospheric and random sounds. To make it more interesting, use creative processing or different types of noise. One of my personal favourites — dial in a bit of vibrato to add movement and instability to a sound.

I like to combine to instances of this, one fast but subtle and one slow but more noticeable. Do you know how many apps there are on your phone that you could record directly from into your DAW? Sound design is traditionally a field reserved for foley artists, film sound effect engineers and other industries. Also, general music production books help too.

Yet in fields like game design, film, and theatre, sound design is a staple. Of course, music is a different application, but there is a lot to be learned from these fields. Getting ideas from outside of the box might be what your music needs to take it to another level of uniqueness. Even Serum has a sampler built in — the Noise Oscillator.

Drag any audio file in there and away you go. There are a number of spoken and unspoken rules in sound design — especially in electronic music:. If you struggle to make certain sounds from scratch, try using existing samples as the basis for new ones especially kicks and snares, they tend to always get recycled in new ways anyway.

Spend some time on Splice Sounds or scouring the web for good quality presets that you can use on your favourite instrument. These things often contribute to a sound more often than we recognise, so make sure to save your favourites and reuse them on new or existing sounds.

Even swapping presets but using the same FX chain can yield interesting results. Serum has this feature where you can lock the effect rack between presets, so go nuts with that. Melda Productions. Metric Halo. Native Instruments.

Ohm Force. Plugin Alliance. Plug-in Boutique. Pure Magnetik. Reason Studio. Relab Development. Reveal Sound. Rob Papen. Roland Cloud. Slate Digital. Sonic Academy. Sound Radix. Sugar Bytes. Synapse Audio Software.

TAL Software. Universal Audio. Valhalla DSP. Vienna Symphonic Library. Xfer Records. XLN Audio. ADSR Sounds. Big Fish Audio.

Carney Media Group Sounds. F9 Audio. Imperfect Samples. Sample Magic. Big Citi Loops. Prime Loops. Producer Loops. Splice Sounds. The Loop Loft. Keith McMillen.

Roger Linn Design. Studio Logic. Alesis MasterControl. AMS Neve Genesys. Apple Logic Remote. Frontier Design Group.

Icon QCon Pro. Liine Lemur. Although the main focus on the v Also plug-in and Apple Loop scanning have been sped up significantly. Drag and Drop. If you drag files onto a track header, it gives a variety of possible ways to import the sample to the devices listed above, and can include what mode you want to import them with. Live Loops: This is probably the most dramatic new feature. Logic is now a bit like Ableton Live in that you can now record, compose and perform mixing in cells rather than regions.

You can switch between the two operational modes per track if you like and you can render a Live Loop performance onto the Main Window tracks. Or copy a region across from either direction. Currently compatible with most of the Novation Launchpad series. It also has way more features, like flex and the ability to recognise pitch automatically. Between the two versions there are some excellent features. And they look much better.

It is a specialised sampler designed for auto-sampling other instruments. It basically sends out a set of MIDI notes you can decide on how many across the keyboard and whether you want to do velocity layers as well , then it records the result as a set of mapped samples.

It can also auto-loop sustained notes. You can use it for external hardware synths, or MIDI instruments, depending on where you place the plugin. Step Sequencer: The other hyped new device in Logic. Although those of us who come from the early days of Logic will recognize the similarity with the old Hyper Editor window in GM drum mode. This is a much more powerful version of that. Basically it is a highly detailed step editor where you can create tracks and assign notes, or various other features like note repeats, ties and skips.

You set the chance a note will play. Each lane can have a different length and even direction. You can even automate parameters within it in step fashion it can glide between settings though. There is a whole new section in the Apple Loops browser for this features with heaps of new loops.

Drum Synth Instrument: This is like the synth part of Ultrabeat. It has a bunch of different types of drum and percussion sounds kicks, snares, percussion, cymbals, and hi-hats that you can tweak.

Improved Logic Remote: This has had a bit of a tweak as well, with more functions added. More content: As usual with these larger updates, Apple have added even more patches. And of course new patches for the new features as well. To quote Apple: Over 2, new loops in a variety of instruments and genres covering modern and classic hip-hop, electro house, reggaeton, future bass, techno, and transition effects.

More than 70 new Drum Machine Designer kits. Over 1, new patches. MIDI capture when stopped: One of my favourite new features! If you play MIDI while Logic is stopped, you can use the Capture Record button or key command to capture what you just played onto the selected track. It times-out after about 20 secs of not playing anything though. Content Slip and Rotate in regions : Slip: This menu item and key command allows you to slip the content of an audio or MIDI region left or right within the region boundaries.

When you do this with audio it creates a little fake folder that the audio slides within. This one works fine with audio regions the same length as the audio file. Piano Roll Chord Analysis: You can analyse chords in Piano Roll by selecting notes anywhere — you now only need two or more notes instead of three.

Double and Half the cycle and region length: There are now key commands to double and halve the current cycle length as well as region lengths.

Alignment guides now extend into Global Tracks: A position guide line is now displayed when adjusting the left or right edge of a Marker in the Marker Track and the vertical guide line when dragging regions now extends into the Global Tracks.

You can now record a MIDI performance and also automate parameters with automation at the same time. There is a new sector under automation menu. No more adding key signature changes inadvertently by changing LCD display key: In cases where the project contains only one key signature, adding a key signature in the LCD now always changes the project key signature rather than inserting a change at the current playhead position.

Region drag to create duplicate track: Dragging a region below the last track in the Track List now creates a new track with duplicate settings.

It is also possible to copy a track by Option-dragging it below itself in the Track List. Removing fades from audio regions: It is now possible to selectively remove Fade-ins, Fade-Outs, Crossfades or all Fades from the contextual menu on regions.

Missing audio files: The Project Audio window now shows the last known path for missing audio files. Note that having this on can mess with you sometimes as well. Channel EQ Plugin Updates: Slightly new interface and fixed some bugs and finicky things so it works better. There is now a contextual menu for switching the EQ range, Analyzer Resolution and Analyzer Mode in the extended parameters section.

The frequency setting can now be adjusted in finer increments. The vertical scale display now adjusts dynamically, depending on how much boost or cut is applied. Mixer: Heaps of bug fixes and general improvements in responsiveness. You can do a couple more Mixer functions using the channel strips in the Inspector pane on the Main Window as well.

Input the tempo of audio files in the Project Audio window. Importantly — like the original biblical set of paper manuals, it now has a glossary at the end which makes it easier to find terms. There is also an online-only help section for Control Surfaces support. Lately it seems like Logic updates have primarily been about bug-fixes, accessibility improvements eg improved Voice Over functions and minor function updates. Perhaps Logic Pro v Option-clicking an empty EQ thumbnail on a channel strip now inserts a Channel EQ into the first plug-in insert.

Stereo width and panning can now be adjusted using the scroll wheel on a mouse. In case you missed this on a previous update — Logic channel strips can now change a stereo balance to a stereo pan knob.

If you Command-click on a stereo pan, you can swap left and right sides. VCAs can now be stored as part of the User Default channel strip configuration. VCAs are awesome and keep an eye out for an upcoming tutorial on how to use them. It is now possible to bounce a track in place in a project that has not yet been saved. Although we all save our projects first, eh? Lots of tracks. So now we have of each type of track, and this also includes Aux channels strips and external MIDI tracks as well.

In related Mixer window news, Apple have increased the number of sends per channel strip to 12 — up from the 8 we used to have. Especially as I would always have to go and tweak a few things manually — like making three lines for the Track Name instead of one. Try it! This is where Apple seem to have spent significant time and energy in the latest release, as the overall performance and responsiveness has improved amazingly in Logic.

Things like starting up Logic, and scrolling, opening or switching windows is much faster and more responsive, especially with Mixer and Event list views. Alongside this, there are some options for controlling loading and unloading of plug-ins. Looks like it is a lot better than the fairly basic original Logic de-esser. The Expander plug-in has had a retina facelift and the resolution of the Sculpture interface has also been increased — it looks really nice again.

I guess Apple are still slowly working their way through the instrument and plug-in catalogue and zhooshing them all up. When regions with region-based automation are split, automation points are now added to the right-hand region to maintain consistent playback. Pan or Volume Automation written in Touch mode is now reliably shown when adjusted using the Track Header controls. Other enhancements include: It is now possible to drag more than one folder simultaneously into the Untagged Loops browser.

Apple Loops now continue to loop after jumping to a different position while previewing. Shift-double-clicking the background of the Tracks area now toggles playback from the clicked position — very handy! Clicking on Flex Pitch notes now makes a sound. Or maybe that was just Melodyne. The Mixer now offers an option to disable its automatic scrolling to channel strips of selected tracks.

This can be handy on large sessions. If all the currently selected tracks are routed to a bus, creating a Summing Stack from them now creates an Aux routed to the same destination. The list of key sources in the plug-in side chain menu is now sorted into sub-menus by audio channel type eg Input, Instrument, Bus. The number of available busses for Multi-Output Audio Unit software instruments has been increased to Add Shift for octaves up and down.

Key Commands that specifically affect region automation now function on all selected regions, even if some of those regions are on tracks currently set to display Track-based automation. The focused track in a group of selected track is now always indicated when color bars are displayed, and when track numbers are not displayed in the Track Header. A lot of items that caused random crashes in Logic have been fixed — including a quite a few ARA2-related things. And as usual there are too many bug fixes to list here individually go here for the full list , but some of the ones I think are important are lots of Flex Time and Flex Pitch improvements, and ARA now seems to be able to handle things like Project Alternatives and project and audio file duplication.

ARA edits are now reliably saved in projects created from project templates and are reliably maintained when Save As is used. About time! The EXS24 now consistently finds samples in those cases where the samples are in the project package and the EXS instrument file is in the User Library. It is now possible to undo IR file selection in Space Designer, and the Wet control now automates properly as well.

This is a pretty solid Logic Pro X update from Apple. And the magic Single Undo history feature has vanished. Spectrasonics just released the v2. If you already have Omnisphere 2, download this free update. These two Logic Pro X updates were definitely in the bug-fix category. There were numerous glitches that were fixed. See here for more details. For those of you who had tried using Logic v This must be one of the biggest demands from users over recent years, what with shrinking drive sizes on laptops expensive SSDs mainly and the ever-expanding Sound Library.

Relocate Sound Library Menu. Sound Library Browser. The most complex addition is probably the bunch of new features in Smart Tempo. Now you can detect tempo across multi-track audio files — no doubt very handy for importing full studio recording projects from elsewhere.

You can even select which files will be analysed for the resulting tempo calculation.